A leg is stretched along the length of exposed tree root. The downed tree trunk and leg are both coated in grey clay, matched in shape, color and form. Slowly the leg moves along the trunk caressing its length.

A face buried in dry dirt eats its way to the surface as a gritty crunching sound draws you in .

A projected nude figure crouches amidst the turbulence of demolition. U-shaped steel channels frame the deteriorating urban landscape. The jaws of a crane grab at the body stirring up clouds of dust and debris. Unaffected by the surrounding danger, the woman persists as rubble rains down upon her.

Two 48" x 42" slate blackboards face each other across the space. Drawn on each is a faint chalk torso. The projected image of a woman crouched in a tidal pool of seaweed matches the drawing until the figure shifts orientation, coming full circle in 20-degree increments. With each shift of position we hear the painful sound of finger nails on a blackboard and the continuous soft sound of seaweed in water. In the center of the wall is a 24' x 1' projected band of seaweed. The projection is overlaid by a charcoal drawing which fleetingly matches the shifting video image line for line.

A public art project for the Southwest Corridor Park, Boston
By Corey Tatarczuk and Denise Marika
A series of rotating photo images projected at night onto 8 ft. square concrete buttresses along the Southwest Corridor Park. The images capture the gestures and energy of youth, defying containment and celebrating their identity. The concrete buttresses function as a physical and metaphorical framework, within which each person struggles to define themselves.

An installation consisting of two plexiglass tubes mounted on the wall. Inside each a twelve inch female nude crouches, buried in the limestone. As the tubes are rolled, the figure becomes increasingly revealed or covered by the limestone "terra."

Still images from the "More Weight" video of a woman carrying a man in her arms are mounted as a triptych on hinged aluminum panels.

Still images from the "Face Me" video cover six 19" high sanding belts, lined with felt, which rest on three steel shelves.

Men and women lie naked, curled or stretched out beneath the benches that surround the inner garden courtyard. In a fresco-like blend of texture and image, each figure is projected onto the gritty concrete and sheltered under the heavy slab seat.

Two crosswalk signals at a busy intersection project images of a mother and child, the mother alternately restraining, struggling with and embracing the child.

An antique museum display case, its lid cranked up with its toothed mechanism exposed, contains the floating image of mother and daughter. Seen from the feet, the lifeless bodies lie in quiet embrace, a single bright light projecting a second image beneath them.

Life-size figures of a man and a woman are caught in moments of domestic violence.

A conveyor runs 18 feet along the floor from the entrance to the back of the gallery. As you pass your hand along the conveyor, the red rollers and the glass tubes cradled between them are set in motion, projecting photographic images from roller to roller. The combined images reveal a series of interactions between mother and child, brother and sister, at play, in conflict and comforting each other.

The back room of the gallery is empty. A heavy sliding door panel along the wall reveals an inner door sealed by a membrane of latex on which is the projected image of a woman, caught dressing.

A 13' long aluminum track holds five curved metate forms on rollers. On each 24" x 24" curved pink gum surface a glass tube can be gently rolled by hand to reveal body parts and figures wrapped and contained by the glass. Light passing through the photographic images as they are rolled back and forth on the pink gum surface reveals new multiple images in motion.